Sheik (1921)

Sheik has a beautiful setting which is captured splendidly, creating a living world into which the viewer can peer.

This was achieved through a number of technical means, such as the effective use of color tinting which contributes to the film's atmosphere and helps create the remote desert setting. The primary alternation between yellow and blue effectively contrasts a calm sunny day, the relative safety of the tent, and the sandstorms in the night.

The backdrop for our story is ideal, with most sources stating the film was shot somewhere in California. The film also boasts a surprisingly high level of visual clarity, given when it was produced.

Editing is also fairly tight, with intertitles perfectly lining up with words as they are spoken. Even the small facial expressions and gestures act as points around which to place the intertitles effectively.

There are some moments of strong dialogue, such as when our protagonist, Diana, as portrayed by Agnes Ayres, states her position (and the position of many women) succinctly and eloquently, “And the woman pays for the beauty God has given her.”

Unfortunately the film is damaged by a number of things. The casting of this movie is deeply racially confused. The reviewer is not strictly dogmatic on this issue but with Sheik, a number of choices don’t make sense. Of all the Arab characters credited in the cast, not a single Arab performer can be found. This is not meant as a moral condemnation, but it does damage the film's attempts at authenticity.

Piling onto that issue further, the film gives us a last-minute reassurance that our sheik was at least half-white all along and definitely never Arab. And so the film pats us on the back and says, “See? He was never a barbarian after all!” I suppose we just have to ignore his otherwise cruel treatment of Diana.

Partly for that reason, the central romance is nonsensical, with the male of our lead duo portrayed as consistently creepy and unkind. He did nothing to earn the affection of our Diana; he was just an effective captor. Somehow, his covetous and callous nature wins her over. As a romantic arc, this one is peculiar.

Despite its romance feeling more “Stockholm syndrome” than “star-crossed”, Sheik does manage to deliver on the front of visuals, solid dialogue and intertitle discipline, and a wonderful setting. Those interested in silent cinema would do well to give it a watch.